Review: BLANK: AN ODE TO BROADWAY'S BLACK HISTORY IS A SHOWCASE OF ICONIC BLACK ROLES at The Green Room 42

It's terribly cold in February. New York City is typically hit with more winter-type conditions in the early months of a new year, rather than at the end of the previous year. Blank: An Ode To Broadway's Black History at The Green Room 42, presented late in the month that has just passed, was a warm showing by some exciting new Black talents performing iconic musical numbers written for Black performers. Ranging from the Gershwins to Malloy, vocalists Bobby Barksdale, Deja-Simone Crumpton, Phoenix Gray, Tyreese Kadle, Aveena Sawyer, and Ayanna Thomas took their audience on a journey through time, visiting some of the most epochal moments in Broadway's Black history. Seeing all these numbers together was a reminder of where theater has come from, and a look at the artists who will see it into the future.

In director Kaitlyn Trusty's directorial debut, there were many outstanding performances during this evening at the Midtown Manhattan nightclub. Tyreese Kadle displayed prowess across genres with "My Man's Gone Now" from Porgy and Bess and used that opera-supported technique for "The Bus" from Caroline, or Change. Ayanna Thomas gave goosebumps as she belted out "Bless the Lord" from Godspell and "Colored Woman" from Memphis. Aveena Sawyer showed off her stunning range in "Easy as Life" from Aida, and soloed on the final group number "The Color Purple (reprise)." Deja-Simone Crumpton gave Broadway-ready performances of "No One Else" from Natasha, Pierre, and the Great Comet of 1812, and returned the crowd and the show to Porgy and Bess with "Summertime," using an effortless soprano sound, soaring over the audience. All the artists of the evening were accompanied by the five-piece band made up of Andres Ayola on reeds, Jakob Messinetti on bass, Eli Schildkraut on piano, and Kabelo Mokhatla on percussion.

In the capable hands of these fine performers Blank: An Ode To Broadway's Black History was a fine entertainment, though one does wonder if there could have been a deeper dive to find more material that featured not just Black performers, but also Black writers, such as Ain't Misbehavin', Eubie!, Sophisticated Ladies or Shuffle Along. The proceedings may have benefitted from a more practical attention being paid to transitions, whether through the aid of a host or a simple introduction of the upcoming artist by those currently onstage. JWM: A Theatrical Company, producer of the evening, has previously presented shows with impressive amounts of polish; one might offer that this evening's director, who has guided many of the show's artists to great success, could have chosen to add in such transitions to help ensure a constant flow of energy.

Kaitlyn Trusty has plenty to be proud of in their cabaret directorial debut. Blank: An Ode to Broadway's Black History was a valuable addition to the cabaret scene during Black history month, and this writer looks forward to seeing these valuable performers grow in their careers.

Find other shows to see at The Green Room 42 by visiting their website HERE.